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Breslow’s Red Sox front-office audit resulted in painful cuts. Will the changes bring wins?

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Breslow’s Red Sox front-office audit resulted in painful cuts. Will the changes bring wins?

In the 17 months since the Boston Red Sox hired Craig Breslow as chief baseball officer — their fourth leadership change within the past 10 seasons — the organization has undergone sweeping changes, particularly behind the scenes in the front office. Under Breslow’s direction, longtime employees have been fired, while others have left on their own, frustrated with the direction of the organization. The scouting department, in particular, has seen deep cuts.

Many that remain in the roughly 275-person front office paint a previously unreported picture of uncertainty and unease, though others see opportunity and optimism, particularly in the rapid revamping of the organization’s pitching infrastructure and player development methods, and in a promising big-league team. Some indicate it’s created an odd juxtaposition between those eager to initiate change and those trying to adapt to new roles under new leadership.

Breslow does not apologize for changes he believes will finally snap the organization out of a years-long stretch of mediocrity. He was hired for this purpose. The team has made the postseason once since their last World Series title in 2018 and has posted a record at or below .500 in four of the past five seasons. Red Sox ticket prices remain among the highest in baseball.

Breslow recently spoke to The Athletic about the restructuring that resulted from an internal audit conducted last year that helped reshape the front office, noting that they “tried to pick off the highest leveraged opportunities first.”

“There are times where maybe it makes sense to bulldoze through things and then kind of pick up the pieces afterward and there are times where being a little bit more intentional and patient ends in the best outcome,” he said, standing outside of Boston’s spring training complex at JetBlue Park. “I think ultimately, what we’ve been trying to instill is the idea that what is most important is what happens on the field, and we need to work backwards from that.”

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Change is not new in Boston. Far from it. Just two years ago under Chaim Bloom, the Red Sox underwent a different front-office overhaul. But Bloom wasn’t around long enough to see those changes make an impact.

So, how will Breslow’s restructuring be different? After so many years of upgrading and updating the front office structure under previous leadership, is this new setup the right one? Will ownership give Breslow enough runway to see the changes through or — given that his predecessors were each fired within their first five years on the job — is he already nearing the halfway mark of his tenure in Boston?

Sources within the team acknowledge that baseball’s increasingly competitive landscape necessitated swift change. Yet too much change can create instability.

Breslow is clear that he believes it’s important to be transparent and he is mindful of the organization’s culture and staff morale. But he also has a strong vision of how the Red Sox can improve.

“Our goal is not to make everyone happy,” he said.

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Craig Breslow was introduced as the Red Sox chief baseball officer on Nov. 2, 2023. (Charles Krupa / Associated Press)

Within a few months of joining the Red Sox, Breslow hired New York City-based Sportsology Group to conduct an internal audit of all baseball operations employees.

One goal was to get all of the front-office departments on the same page so that they could collaborate and communicate more effectively, ultimately benefitting the major-league team. The audit also laid out an objective evaluation method for Breslow to utilize when identifying employees who would best fit his vision for the franchise.

“The one thing I’m committed to, is doing what’s best for the organization and that requires taking a hard look at the processes that we have in place, the systems we have in place, and the people that we have in place,” Breslow told The Athletic in June amid the audit.

“Sportsology is not the decision-making group. They are not evaluating people, we are evaluating people,” he added. “They’re helping us create the frameworks that allow us to do that and certain benchmarks against which we want to evaluate and how to calibrate the information that’s coming in. But the evaluations are being done by us.”

During the audit, there was a natural undercurrent of anxiety within the organization about just what the evaluations would suggest, according to multiple employees who spoke on a condition of anonymity. After the audit was completed, there were widespread changes, not just in scouting, where people with decades of experience were let go, but in creating new department heads in research and development, and reorganizing player development and the medical department.

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“The result of an audit was not some drastic kind of headcount-cutting measure,” Breslow said. “It was understanding who our people are, what type of work they’re doing, what we’re really good at, what opportunities there are to improve.”

The scouting department had the biggest turnover — and those departures created the most angst. On the amateur side, a 34-person staff last year was reduced to 22 following departures and layoffs. Four people were added in their place, increasing the amateur staff to 26. Among the most notable layoffs were longtime scouts Mark Wasinger, Paul Fryer and Willie Romay, a group with decades of collective scouting experience. Tom Kotchman, a scout for nearly 50 years, including 14 with the Red Sox, retired at the end of 2024.

Changes in the scouting world have become ubiquitous over the past decade with the evolving landscape of how the game is evaluated, particularly as advances in technology enhance — and at the same time challenge — traditional scouting methods. Breslow admitted emerging research methods have allowed teams to collect information differently and often more objectively.

“But it has not eliminated the value in the role of the scout,” he said. “I think in certain cases, we’re asking our scouts to take on slightly different responsibilities in order to ensure that we are continually positioned at the industry’s leading edge. But it isn’t that scouts are less important. It isn’t that we’re looking to diminish the voice or the role of the scout. It’s that the job of the scout has changed, and we have to provide the support for people to make sure that they’re going to do their jobs every day.”

All of the scouts who were let go had significant impacts on the club, but Romay, in particular, was directly responsible for uniting the Red Sox with key pieces of the current clubhouse, signing Triston Casas, Kutter Crawford and Roman Anthony. One employee noted that Romay being part of the cuts in the fall was “incredibly disheartening for everyone.”

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“Like anything, like friends that get traded, like anyone that gets released, you never want to see that happen to someone and it’s sad,” said Anthony, whose relationship with Romay was a key reason he didn’t forgo signing with the Red Sox to play at Mississippi. “I still stay in contact with him. He still texts me and still roots for me. I understand it’s a business, and I understand that teams have to do whatever they think is right. And people may not always agree with that.”

Mike Rikard, who’d previously served as amateur scouting director and most recently as vice president of scouting, was moved to a special assistant role last fall before he left the organization in January to join the Arizona Diamondbacks as senior advisor in the scouting department. The Diamondbacks have several former Red Sox employees in their front office, including GM Mike Hazen. Rikard led the team’s drafts from 2015-19 when they selected Andrew Benintendi, Tanner Houck, Jarren Duran, Casas and Crawford. He later transitioned to VP of scouting where he helped in the evaluations of Mayer, Anthony, Campbell and Kyle Teel.

On the international side, 12 scouts were let go or reassigned to different departments with eight additions, shifting the 40-person group to 36.

Assistant general manager Eddie Romero, who had focused on the club’s international scouting and player development efforts, remained an assistant GM but with a role more centered on the big-league club in acquisitions and player development. Over the past 20 years, Romero has helped revitalize the organization’s Dominican Academy and led efforts in signing and developing players such as Xander Bogaerts, Rafael Devers, Brayan Bello and Ceddanne Rafaela.


A batting cage at the Red Sox Dominican Academy. (Jen McCaffrey / The Athletic)

On the professional scouting side, five pro scouts on an 18-person staff were fired and their spots were filled with a mix of external and internal moves, including shifting international amateur scouts Kento Matsumoto and Won-Sang Lee, based in Japan and South Korea, respectively, to the pro side.

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Several inquiries about these changes were left unanswered and those who did discuss changes asked not to be identified or quoted, citing ongoing questions about their job security. Some scouts who were fired have said they’re happy with their new teams and didn’t want to discuss the matter.

The industry has taken notice of the changes to the Red Sox scouting department. In a recent Baseball America poll of more than two dozen scouts, the Red Sox ranked among the least “scout-friendly” teams.

Breslow wouldn’t address specific departures, but defended what he deemed difficult decisions in order to keep the organization at the forefront of the game, noting “that there are a number of people who have contributed to the success of this organization, and that will not change.”

“We have to evaluate where we currently are and where we think this game is headed,” he said. “In some cases, that means the set of responsibilities that our scouts take on has changed and in certain situations it hasn’t at all. We need to find the best people and put them in the right places.

“Fortunately, and in a lot of ways and as a result of a pretty comprehensive audit, we found that we do have a lot of great people here. And there are maybe people who decide that the direction that we’re going is not for them, and that’s OK. But again, all of this is rooted in trying to put the best team we possibly can on the field and give ourselves the best chance of making great decisions.”

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Boston is not the only team reorganizing their scouting structure. The Chicago Cubs, a team for which Breslow previously worked, is in the midst of its own front-office changes. As teams shift more toward Driveline-type methods, others have gone a different direction. The Philadelphia Phillies scaled back “Driveline-ification” efforts of their front office in recent years. In 2022, the Red Sox hired former Phillies director of minor-league hitting Jason Ochart.

At the same time the Red Sox have cut from the scouting department, they have added to others, including research and development, which is now the second-largest department in the front office, behind only international scouting. The R&D department was reorganized under four directors — baseball sciences, baseball systems, baseball technology and baseball analytics. Early in the offseason, Breslow hired Taylor Smith, former director of predictive modeling for the Tampa Bay Rays, as an assistant general manager tasked with overseeing R&D. Mike Groopman, an assistant GM who’d previously overseen R&D, moved to a role focused on acquisitions. The new structure created a heavy emphasis on data-driven analysis and sought to streamline a growing department that had increased to 33 people, up from 30 last year.

Although R&D grew, there were departures, including Joe McDonald, a former director of analytics, who joined the New England Patriots as senior analyst of football strategy. A few analysts were moved to scouting roles. In all, there were six additional hires, including one Breslow specifically highlighted at his end-of-season presser, former Driveline employee Kyle Wasserberger, a biomechanist with an extensive background in injury prevention and rehabilitation.

The Red Sox now employ nine former Driveline employees, the most of any team in baseball, including Driveline founder Kyle Boddy, who serves as a special assistant to Breslow. Breslow said there has not been a directive to hire Driveline employees but he values the way they approach the game.

“I think people who have gone to work at Driveline have taken on a specific set of experiences that typically lends itself to a way of thinking and a curiosity and open-mindedness,” he said. “Yeah it’s data-driven decision-making, but it’s understanding and having evidence and having support for decision-making rather than just blindly working through different possibilities of outcomes and solutions. It’s doing a lot of the work beforehand, before you take a suggestion or a recommendation to a player. It’s being grounded in evidence and information.”

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This analytical approach has paid dividends in many areas, particularly in developing several top position player prospects, including Anthony, Mayer and Campbell, who’ve excelled at the plate thanks to a revamped hitting philosophy implemented over the past few years on the minor-league side, a process that began under Ochart at the end of Bloom’s tenure.

It has also created tension with traditional coaching methods. The Boston Globe recently reported on a “heated conversation” Hall of Famer Jim Rice, a former hitting instructor who now serves as a special assignment instructor for the Red Sox, had with an unidentified staffer after a player approached Rice for hitting advice. Rice was told by the staffer his advice “didn’t align with the team’s approach.”

“There are little tips of the iceberg that have revealed themselves,” one employee noted about the culture of the organization.

Despite that rift and the obvious shift toward more data-driven methods, the Red Sox are not foregoing hands-on instruction. As they seek to strengthen ties between their farm system and their major-league team, another notable change was the addition of Chris Stasio, formerly the assistant farm director, who will work in a player development role on the major-league coaching staff.

Traditionally, the Red Sox player development group was solely involved in development in the minor leagues, but now, via Stasio’s new role, it will also focus on continued development at the big-league level. Stasio will be in uniform and travel with the major-league team. Stasio’s new position was part of a larger restructuring of player development that saw eight people fired and four moved to different positions, including former minor league hitting coordinator Dillon Lawson, who was promoted to big league assistant hitting coach.

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There have been changes in the medical department, too. Dr. Larry Ronan, who’s been the team’s lead physician for 20 years, stepped into an advisory role this season. Dr. Peter Asnis, who’d been the team’s head orthopedist for more than a decade, was elevated to head physician, leading a staff of multiple specialized doctors. On the field, strength coach Kiyoshi Momose moved to a Boston-based strength role, rather than traveling with the club, while two strength coaches were added to their staff of roughly a dozen trainers, rehab specialists, massage therapists and physical therapists.


The vast number of changes across the Red Sox organization has empowered some employees while leaving others feeling diminished in their roles. Some understood the cutthroat nature of working in a billion-dollar industry where the bottom line is what matters most. Others saw years of loyalty and hard work wiped clean.

The Red Sox have not won in recent years and that, in turn, means change. Once again.

Breslow and his leadership team acknowledge the painful moves but remain steadfast that in a competitive industry, this type of restructuring is par for the course and that the organization is re-evaluated after every season. This was, however, a larger and deeper reorganization.

“Without a doubt, we had to make really difficult decisions,” he said. “My hope is that whether people agree with those decisions or not, they understood that we were making the best decisions that we could in order to further this goal we have of competing for World Series championships year over year.

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“I don’t know that there’s a finish line,” he added. “We need to constantly evolve, track our progress, reevaluate. I think that’s what good organizations do.”

(Top photo: Charles Krupa / Associated Press)

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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